Enhanced descriptions from Syndetics:

A systematic study of the early atonal works of Austrian composer, Anton Webern, from the George Lieder, opus 3, to the Latin canons, opus 16. Examining such elements as pitch, register, timbre and rhythm, Forte argues that a single compositional system underlies all of Webern's atonal music.

Reviews provided by Syndetics

CHOICE Review

Forte (Yale) makes a significant contribution to the literature concerning this interesting, challenging, seldom performed (alas!), and seldom discussed music. After a brief introduction to analytical concepts found in his Structure of Atonal Music (CH, Mar'74), Forte examines Webern's music from opus 5 to opus 16, devoting a chapter to each and including salient features in Webern's life. The author consulted compositional sketches, where available. Forte takes a somewhat monolithic approach to each work--identifying local harmony and surface motives, then showing how these elements congeal into the larger structure of octotonic pitch-class collections. This reviewer found much to admire in Forte's observation and exegesis at the local level. Particularly insightful and poetic are his readings of Webern's musical interpretations of song texts. Less convincing are the more doctrinaire striving and contriving to make tones fit octotonic collections. Readers who know Forte's work from Journal of Music Theory will find in these Webern essays a kinder, gentler approach. The author is clearly concerned that this work reach a wide audience and bring a broader awareness of the beauty in Webern's pieces. Overall, the sobriety and subtlety of thought reward the reader. Endnotes and an excellent bibliography are included. Recommended for graduate theory students and upper-level undergraduates guided by an experienced theorist. J. Peel Willamette University